Tom Service (Not so musical youth, G2, 2 April) is right in his analysis of the status of classical music in the lives of young people. For years the arts charity which I direct has been carrying classical music, particularly opera and lieder - those most "esoteric" and "elitist" forms - into state schools in north-east England, through outreach programmes involving our young professional alumni and the vibrant Southbank Sinfonia.

"Any questions?" our young, professional, classically trained singers asked their teenage audience in County Durham recently. There were no questions, simply: "Can you sing some more, please?" The vast majority had never seen or heard an opera or been to a classical music concert before, but they recognised that what they had seen and heard was intrinsically good and wanted more of it. If children are engaged, whether as participants or onlookers, in a classical music experience which is brought to them live with enthusiasm and conviction, those children will respond and be inspired. They just need to be given that chance.Karon WrightDirector, Samling Community Centre, Hexham, Northumberland

I agree with Tom Service but am sceptical about his conclusion. More child-centred musical activity in nursery and primary schools is not a simple matter of regulation. Last week, DaCapo organised a concert a St John's Smith Square at which 120 children from four inner-London primary schools performed a specially commissioned work with the Aurora Orchestra. It was a stunning evening. After just five one-hour teaching sessions every child was able to participate, often for the first time, in singing and using simple instruments. They had learned to sing rhythmically together, in tune, and to follow simple notation. Talk about youth orchestras and free violas is just not where it's at for 99% of kids.Mark LaytonDaCapo Music Foundation

Tom Service laments the way we have shut a whole generation of young people out of an understanding and appreciation of European classical music. Sadly, orchestras (and conservatoires) are themselves partly responsible, having neglected the opportunities presented by ever-expanding music education programmes. With few honourable exceptions, their outreach work seldom aims to explain and explore the essential features of the classical repertoire - its sound and instrumentation, its forms and structures, how its harmony works and how its melodic contours are shaped - most of which, as it happens, are also embedded in much contemporary popular and vernacular music.

Instead, they focus on rap and hip-hop, music technology, songwriting, improvisation, world music and so on - disciplines outside their artistic remit and far better covered by musicians with the appropriate credentials.Tony HaynesGrand Union Orchestra